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#paracosm: x men
hydralisk98 · 2 months
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Blackhand of History (7/?)
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A continuation of this article thread.
Considering that my 16^12 paracosm initially stems from emulating futuristic narratives like 0x10c, Halo 2 + Reach, Portal 2, & the original X-Men trilogy with a personalized touch of historically-informed autistic insights, it should be of no surprise to inform you that my oldest persistent original character is a self-insert far far away future historian from way back in ~2008-2009 for Halo 2. And as I came to draw various original characters out of similar intertextualized fandom in my youth, I wouldn't mind giving you a glimpse at them eventually as I revamp them for proper use? As I refine this very book narrative throughout, I wanted to clarify that among other things as to help you in assisting my creative process here.
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And so... yeah, while I intend the book narrative to focused on a single habitable planet, truth be told the temporal epic scope (from cosmogony to literal heat death) and the copyleft nature of this might get really... let's say messy. Hence the presence of limitations onto some parameters in order to keep this within realistic project boundaries.
That being said, here are some historical divergences worth highlighting for the down-to-earth mundane life stuff:
Bronze Age: Lesser Bronze Age Collapse...
Axial Age: Better preservation of scrolls' data into subsequent ages...
Medieval Age: Index card libraries...
Early Modern: Lesser colonial imperialism & better trade relations...
1910s-1920s: No Woodrow Wilson eq. presidency, instead the two terms went first by Theodore Roosevelt eq. then second by Charles Hugues eq. ; Meaning less polarizing / radicalism between capitalism (from classical liberalism into georgism) & socialism (into syndicalism), more hopeful Polish future, better Shoshone domestic policies, better Spanish Flu handling... a overall more stable, harmonious, ecological and peaceful future long-term.
1960s-1970s: Better automation design & ecological integration long-term, flatter social hierarchies for the long-term, Jakarta Plan's Soviet worker rights / workforce goals fulfilled, varied domestic Soviet computing industry remains (no Western reverse-engineering replacing diverse soviet market), the first class of service androids aka robot-tier androids spread, ICL gets key contract into Polish & Samoa Civs, better queer acceptance long-term;
1980s-1990s: Droid-tier androids spread, later adoption of the global public internet through Xanadu protocol, earlier adoption of the GNU Hurd ecosystem thanks to monolithic kernel stay-in, ...
2000s-2010s: Synthetic-tier androids spread, no corrupt mass media widespread adoption, open source community wide adoption, dawn of the space age*, COVID pandemic here instead...
2020s: Bio-modding, morphological freedoms, nano-engineering, cyberware adoption, religious & spiritual meta-physical research spreads, Samoan corporative rise, copyleft & indie culture wider adoption;
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madd-jewels · 3 years
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para stimboard: leo
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heartofdaydreams · 5 years
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Who remembers when all my paras weren't all based off already existing fictional characters? Me neither!
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paragonrobits · 3 years
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a new marvel idea, or: what if Hulk was explicitly magic, and its not gamma radiation but a form of magical energy his mom discovered?
so! Rebecca Banner, underappreciated scientist, discovers a new form of energy while testing devices that she, quite unwittingly, has based on principles identical to that of the same kind of magical forms used by the likes of Doctor Strange, using a scientific/materialistic view rather than mystical.
It is magical energy, harnessed from the multiverse itself; she eventually determines that this energy has interesting applications relating to life itself, potentially creating life from nothing-ness, or transforming living things, using their thoughts or states of mind as a method for directing that transformation.
(If you like, take this all the way and assume that Rebecca and her husband never had a child in the traditional fashion; she was a truly single mother, and Brian resented this.)
she calls it Gamma, referring to the greek source of it: gamma radiance. for some reason, people mishear it as gamma radiation and think it is a variant of that specific spectrum. it’s not and she resents that no one got the joke.
years later, Bruce intends on doing his mother’s legacy justice by using gamma radiance and experimenting with it, hoping to make a source of cheap and limitless energy. drawing is paracosmic forces of pure mutagenic energy would probably have weird consequences later, but the main issue is that the government lied to him and instead used his designs to create a weapon. horrified by the implications, Bruce risks his career to sabotage the first tests, hoping to prevent more like it from being made. Unexpectedly, there is a kid on the premises on a dare, put in danger by Bruce’s sabotage.
Bruce rescues him, but they are both caught in the resulting blast; it is not destructive in nature, but it transforms Bruce into a living embodiment of his inner mind. such is the birth of the incredible Hulk. (Rick, conversely, continues to mutate in random ways over the years, until he finally settles into a form similar to that of the Abomination.)
Now coping with the repressed aspects of himself making themselves physical, Bruce is on the run from the military, hoping to use his newfound abilities to do good, all the way until he joins the superhero community, which offers him some protection and convinces the others that the authorities are NOT to be trusted, ever.
(Magneto, still operating the Brotherhood of Mutants as a sort of psy ops organization to give the X-Men greater public credit, loftily remarks that he could have told them THAT. He, as usual, is right.)
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hi omg i just read the clown protestors arthurxyou and i’m mind blown by your writing. i’ve never read anything with such detail. it didn’t even have smut but i enjoyed it so much- please, write more!!!!
Tonight...
Tonight was the night you had decided to venture beyond the confines of your comfort zone. To be sure, it was an average Saturday night, rife with studious affinity and booked arrangements with your vivid inner workings.
Tonight, however, was a night of errant impulse. One that enticed you to attend the Murray Franklin show, unescorted. Completely, utterly alone. Normally, the contrived atmosphere of televised events would make you recoil violently. But, tonight compelled differently. Your repulsion to the nature of insincere smiles and orchestrated laughs was retired instead to an unusual appetite for reality.
Tonight’s fabricated reality was especially seasoned. Mortality was indiscriminate to tonight’s audience. The puppeteer’s strings were fraying. The time, sedated. The cue cards, delayed in presentation. The audience’s response to riveting, murderous climax, expected, but no less unnerving to the imperious conductor. No less improvised and deserving of penance.
Then, there was him...
The celestial body of comedy cosmos. Orbiting aimless through an unforgiving galaxy, if only for a number of tense, uninviting minutes. The clown of the evening. Dressed to the cat o’ nines. At least, to you, he appeared as one to « live on the edge ». Front row, his visage was an unseasonably vibrant palette. Yet, you couldn’t be fooled. Beneath the suit and makeup, he was nothing short of Death’s Head Upon a Mop-Stick. An emaciated, miserable fellow seeking to exact a rather noble agenda. Albeit poorly executed.
In spite of his near skeletal composition, it was precisely this that attracted you to him. Ineffable, poetic beauty making a xylophone of his rib cage. Skeletal beyond physicality. An imaginative X-ray scan of eyes, hollow and sunken, yet defiantly verdant with a preserved seed of life.
Sparse about the chest and famished for attention, the compulsion to make daring strides to the soles of his sensitive feet was close to irresistible. Yet, you concede to refrain. At the moment, the man was reading from a notebook. A joke, it seemed. A classic knock-knock variation. While you, alone, were listening intently, quite eager to indulge the dulcet lull of his voice, to endure, in unwanted company, the audience’s dissent, was vexing and oppositional.
Yes, his delivery was morbid and untimely, but did it truly warrant such a wounding brand of ignominy ? Did the fair jester deserve to be pilloried by insolent townsfolk, demanding of entertainment, yet nevertheless poised at the pinch with peanuts of discontent ? His harmless touch of humour, reversed to inflict irreparable damage ?
Ah, but this wreaking of havoc would appear to double The Fool, himself, as A Hanged Man. In spite of this, the cards are yet shuffled in his favour. Tonight, The Hanged Man was dealt to another. The man positioned to the left of celestial coordinates, insouciant to the adjacent star’s warning pulse of blinding luminosity. One which would ultimately unleash the fatal gasp of supernova…
Only to be reborn to a less conspicuous state of matter. Bright enough to be observed from a distance measured by all planets, yet no less forbidding in its modest size. Commanding appreciation and respect, thereby.
Before the cycle of this reformation could reach completion, a hist had to be ushered. A solemn yet forceful call for silence, attracting attention. With such gale of conviction, the man was, at present, asserting statements of truth to the unofficial court.
”I killed those guys because they were awful.”
The audience is uncomfortable with this incisive appeal.
“Everybody is awful, these days.”
All, except you. Threatening to clamor in resistance. Still staring intensely at the man, more engrossed than repelled by his refreshing presence.
“It’s enough to make anyone crazy.”
A small, insignificant nerve of morality twinged at your conscience. Deliberating… at all odds, misconstruing, his claim. Wondering if you, alone, were ‘crazy’ for the polarity of your thoughts in the midst of this confused course of judgment.
Above all, you craved the impending strike of chaos. Beyond the deafening brevity of silence, the intrusive, whispering assent of disorder was quickly approaching. And you hadn’t a mite of disagreement to contribute to those misleading murmurs of the jury. In fact, their repugnance was instead vocalised by the arbiter and defendant, currently at wit’s end in contentious argument.
Helplessly, your fight or flight response was evident by an increased rate of breathing. Rising blood pressure, spectral ringing in the ears, concentrated pulsations of your heart throbbing against scattered areas of flesh.
When the trumpet sounds, your ears fall deaf. Glazed vision registers the stark splatter of crimson staining a distinct name with the permanent mark of quietus.
It’s all just a dream, you think weakly. The noisome screams to which you wish all tongues were made dumb. Silence is what you hunger for. The mouldy TV dinner awaiting at your squalid dorm was forgotten. Silence was vital. If only for reasons of rejecting all activity that didn’t declare the (now criminal) clown as sole focus.
And, it seemed, you had captured his attention as well. Still in a daze of adrenaline, he does his little dance, effectively ignoring the damsel in distress embraced by her saviour in sooted armour. The quacksalver named Sally. The sleazy husband of another, portraying the begrimed white knight. Both petrified in their respective roles, yet nothing more than minor characters in this bizarre lover’s tale.
He makes muted steps in your direction. A trajectory that is strangely fearsome in its perplexing gait. He walks as if he balances between the border of reality and fevered paracosm.
To think, it is not the camera he aims towards…
The pleats of his slacks point keenly to you with each gradual erase of distance. In contrast, his unfocused gaze is at once conflicted yet resolute. Still, the distant cries of terror bleed profusely into the juvenile squall of night. Still, your form, secured to the seat, adhered by delayed presence of emotion. Stoic as the stone cushion.
Just as well, tonight’s moon is noticeably full. Its lunar radiance captivates the expanding vacancy of studio. Amid the disruption of regularly scheduled programming, the light fixtures had begun to flicker. Sparks projecting in variegated asterisms. The tapestried windows began to transpose themselves to hyperrealism, admitting the grace of its silver radiance in full force. The intensity of its glow outlines his wingless form as a fledgling seraph. When his lips part, the voice bespeaks with the striking cords of angels.
“You’re not like the rest of them, are you?”
The question was a paralysing tickle of rhetoric. Inexplicit in answer. His tone was doused by curiosity. Incurably childlike. Sickly saccharine words dispensed from sugared teeth as a soothing balm.
Despite these futile attempts to remedy, you were still unsure if any of tonight’s events were not fabricated illusions of a sleep deprived student. Yet, you examine this clown with careful consideration, eyes wide shut, scrutinising his alluring visage, a painted mess of hidden message. The goofy curl of his lip, crooked and exposing of snaggletooth. The crinkle of his emerald eyes, dancing with the moon, illuminating the dim expanse. Glimmering with a dangerous combination of mischief, hope and promise. That, as well, of the silly hand gesture lacing each slender finger through yours, surprisingly chilled to the bone with sudden contact.
Failure to restrain his impending laughter is stimulated by your undue flinching, accompanied by the provocation of a slight gasp as visceral reaction. Failure to respond in time, to oblige his gentle clutch and flee the scene, was magnified by the abrupt entry of two hefty figures looming in the twirling shadows. Failure to react when these figures move swiftly to apprehend and wrest the hand from yours rather viciously.
In that moment, it was serpents against swine. A blur of stiffened and flailing limbs alike in mismatched choreography. Unlike the clown, you don’t resist when the medics wrench you away, divorcing you further from your self-prescribed medicine. And, still..., your attempt to inject a potent dose of belief was persistent.
It couldn’t be real... None of it was real.
But, his smile...
His laugh...
If nothing else was certain, the lingering stretch of that wounded, boyish smile, replete with delusions of dreams and splendor... was terrifying evidence of this obvious truth.
In pristine, white corners, two orderlies stand idly, mildly perturbed by your manic echoes of laughter. Heedless and indifferent to quell the chorus of its reverb as the trembling intensity of its sound gives a semblance of struggle against the straitjacket’s harness.
You think them fools for misjudging your benign mirth as an attempt to escape. Why would you wish to escape that which would finally aim to spread joy to needless misery?
Three consecutive seconds from the clock remind you of your place. When the click of the door’s handle reaches your ears, pure laughter subsides to shaky relief.
When your eyes open again, the vision is a clear frame of vivid spectacle. Two men in the throes of primitive aggression were dragging a half-starved man, limp and comatose, to a destination unknown.
The rhythm of your lungs return to a steady pace. The blood beneath lukewarm skin streams a settled flow through calm rivers.
The studio is emptied. Effectively purged of its pathogens. Still and all, the reality of the ordeal has yet to process its candid rendering. Fatigued and disenchanted, your steps to departure are light and heady.
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As a matter of blinded course, Arthur reveled in his sprinkled delirium. Quite literally basking in its fiery glow as the street lights and infernos merged to one. Perhaps the first in three decades of listless existence, Arthur could finally say, with sincerity, that he was truly, undoubtedly, happy.
Yet, he couldn’t help the risible itch of something missing. A shard of mosaic to complete the tessellating puzzle of this midsummer night’s dream.
Mere moments before the kaleidoscope of crash fractures his drunken taste of giddy liberty, he thinks that no such freedom can exist without the force of another to share the view.
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Then again...
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Was there not you ?
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Systemic Disenfranchisement of the Feminine:
Paracosm
She stops writing the black tourist as black after he calls out how artists would state his race
Upbringing of a formalist with the desires of an anarchist, yet the diffidence of a woman bound to patriarchal oppression. Gilman writes,
“degrading effect of masculine dominance” gilman iv ; “Starting with a woman’s caucus. Oppressed groups have the right to discuss their problems away from the oppressor.’ Comrade X was furious. “ page 71
“”what seemed exotic to forgeing was oppressive symbol” 78,
‘C’est vrai,’ said Marie, ‘mais tout favorise la prééminence des fils. Ce qui nous empêche de nous inventer nous-mêmes.
EILEEN MYERS, FOREWORD P9 The described experience [is certainly romantic but also in effect] constitutes research into the political history of women and men (aka Patriarchy).
go. Walking carefully so as not to disturb a new vision in my head of the heroine of my novel. Inspired by them. Strong and passionate, her own person. Any pain she feels, she keeps hidden””
BIRDS – no exit scenario: heaven as 3 characters, hell as the endless thwarting onto itself that inhibits happiness, holding that hell is therefore ourselves. Her therapist writes: you are the bird! She laughs. She cannot recognize just yet, in this memory that her narrative is endlessly fed by her own machinations and not the other way around.  :is it possible to create poaradise in this strangeness” 189
Gender
How is gender portrayed in Gail Scott’s Heroine? You may consider providing an analysis of the feminist politics (e.g., the intersection between private and public, gender and sexuality) as portrayed by Scott’s narrator.
In the politically charged Quebec of the 70’s era, social movements gained substantial movement; the Parti Quebecois won, feminist movements were gaining traction, and class divisions were being challenged. Thus, it comes as no surprise that Gail Scott’s Heroine centralizes women’s marginalization at the hands of patriarchy
Gail Scott’s feminist affiliations met
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thehazygaze · 5 years
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Episode 401 | Sorry U Caught Me Flustered
Aired on Wednesday October 3rd 2018. Full playlist available on SPOTIFY.
Jamie Isaac - Maybe - (4:30) Idler Big Piig - Vice City - Single Jakob Ogawa - All Your Love - Single The Marías - ABQ - Superclean, Vol. II Little Dragon - Pink Cloud - Nabuma Rubberband Mount Kimbie, Micah - Marilyn - Love What Survives Toro y Moi -  Low Shoulders - Causers Of This Neon Indian - Hex Girlfriend - Era Extraña **Wild Nothing - Canyon on Fire - Indigo Sara King - Honeymoon - Heat **Men I Trust - Seven - Single ** Mellow Fellow, Ruru - Its Okay to Dream - Single BADBADNOTGOOD - In Your Eyes - IV ** BADBADNOTGOOD - Tried (BADBADNOTGOOD x Little Dragon) - Single Connan Mockasin - It’s Your Body 1 - Caramel Michael Seyer - Making Chit Chat with a Stranger at a Dinner Party - Greetings! Washed Out - Floating By - Mister Mellow Khruangbin - White Gloves - The Universe Smiles Upon You Grizzly Bear - Losing All Sense - Painted Ruins Beach House - Other People - Bloom Washed Out - All I Know - Paracosm Wild Nothing - Nocturne - Nocturne Chromatics - Shadow - Single Beach Fossils - Face It - What a Pleasure Inner Wave - Solar - III Enjoy - I’ve Wasted So Much Time - Gold
** indicates new release
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houstonlocalus-blog · 7 years
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A World of Her Own: An Interview with JooYoung Choi
JooYoung Choi, “Watson and the Cos Present – Begin Transmission to the Earth” (2015)
  JooYoung Choi is one of the most interesting people you may ever meet. A talented artist living and working in Houston, she has fast-tracked her career in the past several years with mounting shows across the US, all while gaining the attention of national papers and websites. It’s a bit of a challenge to explain her highly imaginative and fantastical work due to the fact that it seems to exist on a plane all to itself. Working within video, sculpture, paintings and puppets, Choi creates all that she desires in this world. But she doesn’t just conjure these worlds on the small scale, she creates them as large, engulfing environments. Choi’s paintings are rich with color and complexity and give deeper insight into her sweet madness. While her alter egos can be seen throughout all of her pieces, they are just a small percentage of her ongoing characters and settings. And with performance as a foundation throughout her work, Choi will never allow you to make a dividing line between what is here and what lies within there. Currently, Choi has her solo exhibition, A Better Yesterday, at the Contemporary Art Museum Houston. This new, highly vivid show is a powerful step for Choi, and it poses her as one of the top artist working both within the region and nationally. Free Press Houston was fortunate enough to have an opportunity to talk with Choi about her practice, the exhibition, and her upcoming workshop.
JooYoung Choi, “Three Black Stars: Resilient, Brilliant & Creative” (2016)
  Free Press Houston: You have been exhibiting all over the country and even had some wonderful coverage from the Huffington Post.  Can you tell me a little bit about this experience for you and how these key components of your practice fell into place?
Choi: The last few years have been extraordinary. When I review all the projects I have worked on from the Parliament of the Owls show at Diverse works to now, it takes a moment for me to believe it all has happened since the Summer of 2015.
In the past few years, I have realized that I am a lover of learning, and that art and narrative have been a vehicle to do just that. My piece at the Diverse Works show of 2015, Earth Based Satellite Investigation and Innovative Production of Educational Materials for the Sight and Sound Research Foundation of the Cosmic Womb, also known as E.B.S.C.I.I.P.E.M.S.S.R.F.C.W., pushed me to learn more about video editing, chroma key, puppet making, and taught me that my studio process could be of interest to viewers. It was here that it introduced me to the idea of including an interactive component to my work. As an artist that has in the past often worked alone, moving my studio into the Diverse works artist space and creating a video art project with the public was a growing experience.
In February of 2016, I had a solo show called “Paracosmic Alchemy” at Anya Tish Gallery. For this show, I learned more about carpentry and built my first video art sculptures. I introduced new characters into my narrative and created my first battle painting. This show explores a method of exploring experiences from the past we cannot change, how people can use their imaginations to take a challenging experience and transform it through storytelling and imagery into something meaningful.
July 2016 I worked on the Snow People Space Travel to Texas Initiative, with a generous grant from the Ideafund. For the project, I created a team of intergalactic “snow people” puppets (snow people who had evaporated into outer space and had returned to earth). The project showed me what it looked like to develop a narrative and then let go of some control and let the art develop further through playful interaction with viewers. With the help of submittable.com and a team of judges (myself, two artists and one curator), we reviewed a collection of applicants who wanted to host a snow person puppet for one week, with the condition that they share a photo of them and their puppet each day. After the snow people were delivered to the host families, I watched like everyone else, and saw what kind of joy and magic a play friend can bring to the lives of adults and children.
During the fall and winter of 2016, I produced my first two large-scale sculptures and created my first large-scale immersive installation. “Freedom from Madness” was the first large-scale sculpture I have ever produced and was a wild process of trial and error. I began these pieces in the summer and worked until the fall to present them. Learning what a sculpture made by me would even look like, was a challenge. I ended up watching puppet tutorials and pulling apart dolls to make patterns. I accidentally went to a furry workshop for costume creation, thinking it was a workshop on how to make fursuits of all kinds. Instead, I learned a lot about Furry culture, but that was neat too. I took a week-long trip to NYC to look at art and gather ideas as well as a shorter trip to Disney World to understand my first memorable experiences in immersive installation. I went on the “It’s a small world after all” at least three times, furiously taking notes and drawing pictures. The Peter Pan ride at disney world inspired how I used lighting and figures in the Project Row House exhibit. These projects let me play with ideas about color and race in ways I hadn’t explored prior.
Growing up, and still today, there are not enough leading black women leaders in superhero comics. We can only mention that X-Men’s Storm is black so much until it gets creepy. I wanted to create a character who was black, a woman, strong, powerful, intelligent and beautiful. Spacia Tanno, in both pieces, challenges how blackness is generally perceived in English language metaphor and western storytelling. I read once that black was at one point perceived as “heaven’s color” in Chinese culture, and I thought that was quite beautiful and logical; it is the color of the nighttime sky. Furthermore, the piece at Project Row Houses let me explore my feelings about the violence against black boys in America. The things I have heard from my friends of color that have experienced racism — instances where people have tried to make them feel bad or dangerous and worthless just because of their race — is what I call the myth of the black zero. During the exhibition, the Orionid meteor shower was taking place, so I created a story about a very powerful star being born who was rejected from his constellation because he was born as a black star and was different than his siblings. As he fell backwards from the sky, he transformed from an Orion star to a Noiro star, first perceiving himself as the Black Zero (Noir-O). But the exhibit’s narrative explores the idea that noir, or black, can be comprised of all the other colors on a painter’s palette, and that zero is the number that allows us to comprehend the idea of infinity. The emotional response from people who participated in the interactive component of this installation taught me a lot about the power of art and how it can help heal or soothe the pain of it’s viewers in ways I didn’t know my work could do.
For my exhibition at the CAMH, I learned more about composition, design and color harmony. I put together a stack of books and went back to school. I took notes and researched what worked in past pieces and what aspects of my process were less helpful. The CAMH project brings a narrative that began in 2015 to a finale work called “Time For you and Joy to get Acquainted.” This work celebrates the main character’s journey of making peace with her past before riding off into the future with her beau, a rabbit, and an octopus with eczema. I have been wanting to make a dinosaur for years, and here was my chance. I couldn’t have done it without the help of volunteers who travelled out to my studio to make flowers, sew dino parts, and help with wood working. It has been such a journey!
  JooYoung Choi, “Time for You and Joy to Get Acquainted” (2016-17)
  FPH:  Your work is ever evolving, and I have gone back several times to see your show currently up at the CAMH? How did this come about? As one of your first major solo exhibitions, how did you envision approaching this on its new platform? What was your goal for this particular show?
Choi: Well, I was at Fiesta buying guacamole when I got a message asking if I’d be interested in participating. I almost dropped my guacamole! I was so happy! Bill came to learn more about my work at Lawndale and again when I did a show at Front Gallery. We talked more at Diverseworks, and so forth. He’s really fun to talk to about imaginary worlds, children’s television, and video art. He just knows so much, and it’s fun to get his perspective on things. Working with him and the team at CAMH on this has been super fun. My goal for this show was to get the whole narrative of  Spacia Tanno in one place, with the finale in the middle. It was an amazing and challenging process with lots of hard work and lots of help from volunteers. Some of my goals were more simple like: I want to see what a garden made out of fabric will look like; I want to make a giant dinosaur who can grow flowers and sit on it’s back; I want make a painting that expresses the moment of breaking out of imprisonment — enlightenment; I want to make a super big painting that has the whole gang together; and I want to make a giant spider lady. It’s a mix of these TIWTS (things I want to see) and narrative ideas.
  JooYoung Choi, “Watson and the Cos Present – Begin Transmission to the Earth” (2015)
  FPH: Your work is so adventitious and fantasy bound but calculated at the same time. I’ve enjoyed spending time within many of your large-scale installations, and your attention to the smallest components is impressive. Can you talk about your process when creating one of your environments?
Choi: Hmmm, I am very much interested in meta realities. My favorite movie since I was a child was Who Framed Roger Rabbit. Things like knowing where Eddie Valiant’s office is located (1130 South Hope Street in LA), or where the tunnel to Toon Town is, Griffith Tunnel, were important to me. This is where my husband and I technically got married — in Toon Town!
So I try to ensure that whatever I am doing is connected to reality here on earth. So if a show is happening on a certain date, I research what else is going on that day. Is a meteor shower happening? Is it the anniversary to something? Does the location of the place connect to something within the narrative I am working on? Why would these characters want to be on Earth, and why at this location?
Currently I am working on a show that will open on Friday the 13th of April, so I have been researching April 13th’s throughout history, and a particular April 13th in 2029, when an asteroid will come very close to the Earth. I am also exploring an aspect of the narrative that plays with a deck of cards since there are 4 suits (4 for April) and 13 cards per suit. Hopefully the narrative and paintings will play with the idea of my imaginary friends saving the Earth from a golden snake creature named “Apophis 44492.”
It has to feel real enough and compelling enough for me to care, to believe, and then to make. If I don’t believe in the power of my narratives or get excited by the mythology it is weaving, it’s incredibly hard for me to sustain my interest in a long term project. This is especially true when it comes to a body of work that will require months of work. It’s gotta feel genuine and include a narrative, characters, and imagery that I care about.
  JooYoung Choi, “Have Faith for You Have Always Been Loved [The Noiro & Spacia Tanno Constellation Plasma Experience]” (2016)
  FPH: How does your inner layer of characters and imaginary realms interact with your day-to-day, and how much of it just remains as contemporary art?
Choi: Hmmm, well, it’s all kind of one in the same. My character Plan-Genda is the force energy being who represents thoughtful planning and time in my imaginary world. The gridded pattern that decorates her skin resembles the gridded time management system I use to plan my work schedule. A new character named “Sputnik” is also the name of a new task brainstorming template I use to plan out more complicated projects. So the characters are part of my everyday life. I know that they aren’t real, but as with any good paracosm, I feel responsible for them, and I feel it is my job to maintain and continue to develop the world that they live in.
JooYoung Choi, “There’s Nowhere Else I’d Rather Be All Through This Lovely Night” (2017)
  FPH: Your creature creation workshop is coming up this weekend. Can you tell us about your projected outcome for this event? What is it you are trying to help the participants tap into?
Choi: So much of the world building workshops or video talks I have heard focus on writing: Take a sheet of paper and draw little picture in the box and then write out stuff like eye color, race, place of birth, age, blah blah blah. For writers, this seems to work well. I know for myself, a lot of my ideas about my characters and worlds come from making and play. Instead of knowing everything about a character through a worksheet, puppets have been incredibly helpful.
When I made Putt Putt, my pink octopus, he had only been in two paintings. He hasn’t a very popular character, and I didn’t really know anything about him. But after I made him, I brought him out with me and people played with him and he began to have an identity. My husband does his voice, and we’ve done videos where Putt Putt sings with me, and he really has developed a personality.
I like the idea of building a workshop about world building upon play. Let’s play and each make a creature! Who are the friends of this character? What do they eat? Where does this creature live? What does it do?  What does it fear, and what makes it happy? Through playing with the creatures, the mind can be invited to build a bigger and more immersive world. We will be making creatures, interviewing each others puppets, getting feedback, making small backdrops that can be chroma keyed into videos, and filming presentations with people’s creatures. Hopefully, this will give people a look into a method of world building and character creation and what it is like to generate ideas using making, playing and feedback from fellow creators.
This workshop has been limited to 14 participants per class, and it appears the classes may soon fill up.
Right now we are trying to coordinate one more artist walk through of the work, so anyone who couldn’t get into the class could bring their questions about world building to this upcoming artist talk, and I’d be happy to share what I know during that event.
  Join “A Better Yesterday” artist JooYoung Choi in a hands-on workshop to explore making your own creatures, building a world for your character, and then creating a narrative. Be inspired by Choi and the worlds she creates as you explore and delve deep into your own creative process. This workshop is ideal for people ages 13 and up.
Workshop Fee: $20, space is limited. They are offering two separate workshops on August 12, 2017:
Sign up for the 11AM–1PM workshop here: http://bit.ly/2u3yMN0
Sign up for the 2–4PM workshop here: http://bit.ly/2tu3Bxz
A World of Her Own: An Interview with JooYoung Choi this is a repost
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madd-jewels · 3 years
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para moodboard: theia
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madd-jewels · 3 years
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paracosm // x-men
“ You know what they say, with great power comes great responsibility.”
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madd-jewels · 3 years
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sometimes, family is a group of mutant criminals where there is one who can manipulate the dead, one who can heal people, one who can create and manipulate light, one who can mind control people, one who can create poison out of thin air, one who can manipulate metal, one who can cause electric bursts, and their emotional support non-mutant assassin who is there for the ride
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madd-jewels · 3 years
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theia and genya, power couple ‼️
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heartofdaydreams · 3 years
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oh so we ALL got madd from hetalia? oh so i’ve never had an original experience in my life? is that it? /lh
We love that for us. Technically I got mine from X-Men the animated series but my Hetalia paracosm (which I've had since I was 12) is my special interest now
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heartofdaydreams · 4 years
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My first para is Nicholas Robinson. He is twenty-eight and is my adoptive-father. He has dark long hair and brown eyes. I still talk to him everyday. I can’t remember a time where he has ever left my side. In an alternative universe, he has a girlfriend / wife named Jade. She is the same age as Nicholas and is a very tomboyish girl as well.
I can't remember my first. It might have been Wolverine from X-Men or Bloom from Winx club. I don't remember either of those paracosms other than my 5 year old brain should not have been able to come up with those kinds of torture scenes
I have 2 dads in my paracosms (they aren't together, don't even exist in the same dimension/paracosm, but they both adopted me at different times). One is Theta (based off The Doctor from Doctor Who) and he helped my parame recover and healed them when they lost their whole family in the destruction of another dimension/paracosm.
The other is Hades. He's half based on the actual Greek god and half based on the Percy Jackson/Heroes of Olympus version. He helped my parame and actaul me through depression and I probably wouldn't have lived irl without him
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heartofdaydreams · 4 years
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Moon, Earth, and Milky Way? :)
Moon: who’s the og para, your very first? are they still around?
This is hard because I started daydreaming at such a young age it's hard to place who and what exactly cane first. It was either a para based of someone irl called Olivia (I knew her when I was very young and she moved away one day so I started daydreaming about her coming back) or a para based of Wolverine because I was X-Men Animated trash. Neither of the paras or the paracosms are still around
Earth: what was your very first paracosm like?
Again, hard to tell. The one with Olivia was based on real life and was extremely childish with me as the centre of attention and a ton of friends (I was pretty lonely at that age). The X-Men one mainly focused on Wolverine's back story and later his father/child relationship with my parame who also suffered some of his trauma (I think this is where my angst obsession started)
Milky way: linear daydreamer or nah?
Mostly I am. I always have a main plot for my paracosm even if it's just "this backstory happened and now they're living their life". It's slowly become less linear but it's all still centred around one story line, I'm just able to do time skips and erase parts and have small scenes that don't fit occasionally
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